University of Miami Scholarly Repository Open Access Dissertations Electronic eses and Dissertations 2015-04-24 A Comparison of the Improvisational Styles of Trombonists Conrad Herwig and Steve Davis Andrew T. Hamilton University of Miami, [email protected]Follow this and additional works at: hp://scholarlyrepository.miami.edu/oa_dissertations is Open access is brought to you for free and open access by the Electronic eses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. Recommended Citation Hamilton, Andrew T., "A Comparison of the Improvisational Styles of Trombonists Conrad Herwig and Steve Davis" (2015). Open Access Dissertations. Paper 1390.
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University of MiamiScholarly Repository
Open Access Dissertations Electronic Theses and Dissertations
2015-04-24
A Comparison of the Improvisational Styles ofTrombonists Conrad Herwig and Steve DavisAndrew T. HamiltonUniversity of Miami, [email protected]
Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations
This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted forinclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please [email protected].
Recommended CitationHamilton, Andrew T., "A Comparison of the Improvisational Styles of Trombonists Conrad Herwig and Steve Davis" (2015). OpenAccess Dissertations. Paper 1390.
A doctoral essay submitted in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
A COMPARISON OF THE IMPROVISATIONAL STYLES OF TROMBONISTS CONRAD HERWIG AND STEVE DAVIS
Andrew Hamilton
Approved:
__________________________________ Rachel Lebon, Ph.D. Professor of Jazz Vocal Performance
__________________________________ Martin Bejerano, M.M. Assistant Professor of Jazz Piano
__________________________________ Dante Luciani, M.M. Lecturer of Jazz Trombone
__________________________________ M. Brian Blake, Ph.D. Dean of the Graduate School
__________________________________ Timothy Conner, B.M. Lecturer of Trombone
HAMILTON, ANDREW (D.M.A., Studio Music and Jazz)
A Comparison of the Improvisational Styles of Trombonists Conrad Herwig and Steve Davis
(May 2015)
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Professor Rachel Lebon. No. of pages in text. (95)
The purpose of this essay is to analyze the playing styles of jazz trombonists Conrad
Herwig and Steve Davis, and compare them side-by-side. Five improvised solos by each
player are transcribed. The transcriptions are selected from two albums that the
trombonists recorded together, Conrad Herwig’s Osteology and A Jones for Bones Tones.
The melodic, harmonic, rhythmic, and stylistic contents of the solos are compared, in
order to determine in what ways the two subjects are similar, and in what ways they are
different. Musical examples are cited throughout the analysis, and the full transcriptions
are included in the appendix, as well as interviews with both Herwig and Davis.
iii
TABLE OF CONTENTS
Page
LIST OF EXAMPLES ........................................................................................................ v!
CHAPTER 1 INTRODUCTION ........................................................................................ 1!Purpose of the Study ............................................................................................... 2!Need for the Study .................................................................................................. 3!Facets of Style to be Compared .............................................................................. 4!
Biographical Information ........................................................................................ 5!Conrad Herwig .................................................................................................. 5!Steve Davis ....................................................................................................... 7!
APPENDIX A ................................................................................................................... 51!Interview with Conrad Herwig ............................................................................. 51!
APPENDIX B ................................................................................................................... 57!Interview with Steve Davis ................................................................................... 57!
APPENDIX C ................................................................................................................... 62!Ten Selected Transcriptions .................................................................................. 62!
iv
APPENDIX D ................................................................................................................... 91!Consent Forms ...................................................................................................... 91!
v
LIST OF EXAMPLES
Example Page
4.1 “Syeeda’s Song Flute,” mm. 19-23 .............................................................................18
4.2 “Syeeda’s Song Flute,” mm. 41-44 .............................................................................18
4.3 “Syeeda’s Song Flute,” mm. 105-108 .........................................................................18
4.4 “Que Viva Barry,” mm. 19-23 ....................................................................................19
4.5 “Que Viva Barry,” mm. 77-90 ....................................................................................19
4.6 “It Ain’t Necessarily So,” mm 21-26 ..........................................................................21
4.8 “It Ain’t Necessarily So,” mm. 105-106 .....................................................................22
4.9 “Syeeda’s Song Flute,” mm. 82-83 .............................................................................23
4.10 “Slide’s Routine,” mm. 135-136 ...............................................................................23
4.11 “It Ain’t Necessarily So,” mm 317-320 ....................................................................23
4.12 “Slide’s Routine,” mm. 13-14, 17-18 .......................................................................24
4.13 “Que Viva Barry,” mm. 82-87 ..................................................................................24
4.14 “Slide’s Routine,” mm. 61-64 ...................................................................................25
4.15 “You Don’t Know What Love Is,” mm. 8, 15 ..........................................................25
4.16 “You Don’t Know What Love Is,” mm. 24-25, 28 ...................................................26
4.17 “Slide’s Routine,” mm. 121-123 ...............................................................................26
4.18 “Que Viva Barry,” mm. 16-18 ..................................................................................26
4.19 “It Ain’t Necessarily So,” mm. 281-284, 299-302 ...................................................27
4.20 “You Don’t Know What Love Is,” mm. 32-33 .........................................................27
4.21 “Que Viva Barry,” mm. 1-9 ......................................................................................28
vi
4.22 “It Ain’t Necessarily So,” mm. 21-26 .......................................................................29
4.23 “It Ain’t Necessarily So,” mm. 75-80 .......................................................................30
4.24 “Que Viva Barry,” mm. 36-38 ..................................................................................30
4.25 “It Ain’t Necessarily So,” mm. 31-33 .......................................................................31
4.26 “Slide’s Routine,” mm. 38-41 ...................................................................................32
4.27 “Slide’s Routine,” mm. 42-45 ...................................................................................33
4.28 “Syeeda’s Song Flute,” mm. 59-61 ...........................................................................33
4.29 “Syeeda’s Song Flute,” mm. 33-38 ...........................................................................34
4.30 “Slide’s Routine,” mm. 9-12 .....................................................................................35
4.31 “Slide’s Routine,” mm. 105-108, 135-138 ...............................................................36
4.32 “You Don’t Know What Love Is,” mm. 0-2 .............................................................36
4.33 “You Don’t Know What Love Is,” mm. 29-30 .........................................................37
4.34 “It Ain’t Necessarily So,” mm. 365-372 ...................................................................37
4.35 “Syeeda’s Song Flute,” mm. 60-64 ...........................................................................38
4.36 “Que Viva Barry,” mm. 30-33 ..................................................................................38
4.37 “You Don’t Know What Love Is,” mm. 18-19 .........................................................39
4.38 “Que Viva Barry,” mm. 82-89 ..................................................................................39
4.39 “It Ain’t Necessarily So,” mm. 15-19 .......................................................................40
4.40 “It Ain’t Necessarily So,” mm. 109-111, 120-122 ...................................................40
4.41 “Slide’s Routine,” mm. 135-136 ...............................................................................41
4.42. “Que Viva Barry,” mm. 58-61 ............................................................................... 41
4.43 “Syeeda’s Song Flute,” mm. 48-54 ...........................................................................41
4.44 “Syeeda’s Song Flute,” mm. 76-81 ...........................................................................42
4.45 “Syeeda’s Song Flute,” mm. 29-32 ...........................................................................43
4.46 “Que Viva Barry,” mm. 34-37 ..................................................................................44
vii
4.47 “Syeeda’s Song Flute,” mm. 60-61 ...........................................................................44
4.48 “It Ain’t Necessarily So,” mm. 383-386 ...................................................................45
4.49 “It Ain’t Necessarily So,” mm. 120-122 ...................................................................45
4.50 “Syeeda’s Song Flute,” mm. 117-121 .......................................................................46
4.51 “You Don’t Know What Love Is,” m. 27 .................................................................46
1
CHAPTER 1
INTRODUCTION
For many years the trombone was considered to be rather unwieldy among the
jazz community. It was thought to be incapable of executing the fast passages that the
trumpet, saxophone, and piano were known for. This perspective was challenged time
and again by the trombonists of the twentieth century. From Jack Teagarden to J.J.
Johnson, then Frank Rosolino and Carl Fontana, each innovator stretched the technical
boundaries of the trombone further than the last.
As the trombone gained respect among jazz musicians, people began to transcribe
the improvisations of trombonists, although still to a far lesser degree than other jazz
instrumentalists. By and large the jazz community is still lacking in the study of
trombonists as compared to other instruments. Of those studies that have been done, the
majority have been about the historical pioneers of the instrument such as Johnson and
Rosolino. Very few studies have been done on contemporary trombonists.
Conrad Herwig and Steve Davis are two of the most prolific living trombonists.
Combined, they have recorded over 36 albums as leaders, and several hundred albums as
sidemen.12 Although they are both undisputedly successful players of the same
instrument, they have vastly contrasting styles. The jazz trombone community, and jazz
musicians on the whole, would benefit greatly from an in-depth analysis of these two
masters of the trombone due to the quality and variety of vocabulary represented in their
1 “Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info.
2 “Press Materials,” Conrad Herwig, accessed April 8, 2014, http://conradherwig.com/pressmaterials.php.
2
solos. A transcription and analysis of their solos not only provides the student with
specific vocabulary, but it also provides him or her with the concepts behind that
vocabulary, thus facilitating the spontaneous composition of their own solos.
Aside from the value of transcribing Davis and Herwig independently, there are
two additional factors that make this pair a worthwhile study. These trombonists have
extremely different styles. The vocabulary they use, as well as the techniques they use in
their playing are almost polarized. The second advantage in comparing these two
subjects is that they have recorded two albums together. This provides a unique
opportunity to compare them performing the same pieces, with the same rhythm section,
from the same session. Often times, when two musicians’ improvisations are compared it
is done so from the standpoint of different compositions, and from different points in the
subjects’ lives and careers, causing a disparity in the context in which the solos were
composed.
Purpose of the Study
The purpose of this essay is to transcribe and analyze specific solos of Conrad
Herwig and Steve Davis, to compare and contrast the melodic, harmonic, rhythmic, and
stylistic content of the solos, and to add to the existing jazz trombone literature.
Herwig and Davis were specifically chosen for their high level of improvisational
abilities, their success in the jazz world, their contrasting styles, and the fact that they are
currently performing and recording.
3
Need for the Study
Compared to the wealth of analytical literature available about jazz trumpeters,
saxophonists, and rhythm section players, there are very few studies of jazz trombonists.
Analyzed transcriptions are a valuable resource to the jazz students and professionals. As
renowned jazz musician and Educator David Liebman states on his website:
“For jazz, the most valuable form of imitation is a direct master-apprentice relationship in which the live model (master) demonstrates directly to the student demanding immediate and exact repetition until mastered before moving on. Learning in this way becomes a natural outgrowth of constant exposure and reinforcement on the spot. But without that opportunity, I have found transcription is the next best method…the best players are usually the ones who will tell you immediately that so and so was their main inspiration and they began copying him. This is a process – a means to and end and to my mind very necessary.”3
While there are an increasing number of trombonists’ transcriptions available,
very few of these are accompanied by analyses, which in many ways is the most
important part of transcribing. It is through the analysis that students can learn the
underlying concepts that will allow them to improve their own improvisational skills.
The jazz trombonist can gain insight into the improvisational language of two
masters of the craft and the techniques they implement. Other jazz instrumentalists can
obtain vocabulary that they would not ordinarily encounter and gain an understanding of
the technical aspects of an instrument other than their own. Non-jazz musicians can learn
about improvisation and the trombone in general from this study.
3 David Liebman, “The Complete Transcription Process,” David Liebman Official Website,
accessed April 29, 2014, www.daveliebman.com/earticles2.php?DOC_INST=13.
4
Facets of Style to be Compared
In order to best analyze and compare the subjects’ improvisational styles, the
content of their solos is broken down into four specific categories. These categories are:
melodic content, harmonic content, rhythmic content, and stylistic inflection. The author
has developed this four-point analysis because it shows a complete picture of an
improviser’s style. It is based on an amalgamation of previous studies such as Dr.
Rodney Lancaster’s “Transcription and Analysis of Selected Trombone Solos from J.J.
Johnson’s 1964 Recording Proof Positive,” Dr. David Lambert’s “A Comparison of
Three Divergent Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and
Frank Rosolino,” and Dr. Timothy Pitchford’s “The Improvisation of Hal Crook”4,5,6 This
method provides the easiest side-by-side comparison of the different facets of playing
style.
Melodic Content
Within the topic of melodic content there are several techniques that can be
employed in order to construct a musical solo. The intervallic relationships within the
lines are compared to determine whether each subject tends to favor scalar passages,
large intervallic leaps, or a mixture of both. The contour of the lines is also studied to
compare the over-arching “shape” of the solos. Patterns and quotes of pre-existing
melodies that are present in the solos are also noted.
4 Rodney Lancaster, “Transcription and Analysis of Selected Trombone Solos from J.J. Johnson’s
1964 Recording Proof Positive” (D.M.A. Essay, University of Miami, 2009).
5 David Lambert, A Comparison of Three Divergent Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and Frank Rosolino (D.M.A. Essay, University of Miami, 2005).
6 Timothy Pitchford, “The Improvisation of Hal Crook” (D.M.A. Essay, University of Miami, 2005).
5
Harmonic Content
With regard to harmonic content, the main characteristic to analyze is whether or
not the subjects’ solos adhere to the predetermined chord structure of the tune. If the solo
deviates from the traditional chord changes, the superimposed chords are identified.
Rhythmic Content
There are many different rhythmic aspects of improvisation. The subjects’ swing
feels are compared. It is also noted if each soloist implements specific subdivisions more
than the other (i.e. quarter notes, eighth notes, triplets, etc.). The solos are also analyzed
for recurring rhythmic motives.
Stylistic Inflection
The solos are analyzed for any and all stylistic devices. These include but are not
limited to: falls, doits, smears, scoops, growls, vibrato and multiphonics.
Biographical Information
Conrad Herwig
Conrad Herwig was born on November 1, 1959 in Lawton, Oklahoma. He
studied with Trummy Young during his adolescence and high school years while living
in Hawaii. After graduating from Punahou high school he enrolled in the University of
North Texas where he played in the One O’clock Lab Band. He did not finish his degree
at UNT but instead joined Buddy Rich’s band and began touring professionally. He later
earned a Bachelor’s degree in Afro-Caribbean Ethnomusicology from Goddard College
in Plainfield, Vermont, and eventually earned a Master’s in Jazz Studies from Queens
College in New York.
6
Herwig’s professional career started with big band work. He played in big bands
led by Clark Terry, Cab Calloway, Buddy Rich, Toshiko Akiyoshi, Mel Lewis and Frank
Sinatra. He also worked with Mario Bauza and his Afro-Cuban Jazz Orchestra, which
would pave the way for his later work in the Latin Jazz field.
His first album With Every Breath was released in 1987.7 He continued
recording albums every few years. It was during this time that Herwig began playing
with Eddie Palmieri. He also worked with Paquito D’Rivera and served as musical
director of the Mingus Big Band. Another of Herwig’s most important career moves was
joining Joe Henderson, with whom he both toured and recorded.
In 1996 he released The Latin Side of John Coltrane.8 This album was comprised
of original Latin Jazz influenced arrangements of many of Coltrane’s works. This was
the first of several Latin Jazz inspired homage albums. This was also his first Grammy
nomination for “Best Latin Jazz Recording.” This album was followed by Another Kind
of Blue: Latin Side of Miles Davis in 2004, Qué Viva Coltrane in 2004, Sketches of Spain
Y Mas in 2006, Latin Side of Wayne Shorter in 2008, and Latin Side of Herbie Hancock
in 2010.910111213 Throughout this time Herwig continued to release swing albums as well.
7 Conrad Herwig, With Every Breath, recorded in 1987, Ken Music, 008, CD.
8 Conrad Herwig, The Latin Side of John Coltrane, recorded in 1996, Astor Place, 4003, CD.
9 Conrad Herwig, Another Kind of Blue: Latin Side of Miles Davis, recorded in 2004, Half Note, 4517, CD.
10 Conrad Herwig and Brian Lynch, Qué Viva Coltrane, recorded in 2004, Criss Cross, 1254, CD.
11 Conrad Herwig and Brian Lynch, Sketches of Spain y Mas, recorded in 2006, Half Note, 4530, CD.
12 Conrad Herwig, The Latin Side of Wayne Shorter, recorded in 2008, Half Note, 4535, CD.
13 Conrad Herwig, The Latin Side of Herbie Hancock, recorded in 2010, Half Note, 4544, CD.
7
As an educator, Herwig has had great success as well. In addition to being on the
Board of Advisors of the International Trombone Association, he has also taught at
Rutgers University as Professor of Jazz Trombone, Improvisation, and Composition and
Arranging. He is also a visiting Professor of Jazz Studies at Julliard.1415
Steve Davis
Steve Davis was born in Worcester, Massachusetts in 1967. He graduated from
the Jackie McLean Institute, part of the University of Hartford, in 1989. After
graduating, Davis began playing with Art Blakey. He returned to Hartford to join
McLean’s group in 1992. He also began teaching at the McLean Institute at this time.
Davis became a member of Chick Corea’s Origin band in 1997. He also
co-founded a group called “One for All” along with Eric Alexander, Jim Rotundi, David
Hazeltine, John Webber, and Joe Farnsworth. This group has recorded 13 albums since
its inception.
Since 1994, Davis has recorded 16 albums as a leader. His albums have featured
such artists as Roy Hargrove and Hank Jones. He is also an accomplished composer and
arranger and has published a number of original arrangements through Second Floor
Music.16
Summary
This essay provides transcriptions and analyses of solos by trombonists Conrad
Herwig and Steve Davis. These contemporary subjects were selected due to their
14 “Press Materials,” Conrad Herwig, accessed April 8, 2014,
http://www.conradherwig.com/pressmaterials.php.
15 Conrad Herwig, interview by Michael Davis, October 1, 2014, Bone2pick Series.
16 “Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info
8
mastery of the trombone, professional success, and contrasting styles. The solos are
analyzed for melodic, harmonic, rhythmic, and stylistic content. The content of the solos
are compared.
This essay will be beneficial to the jazz community by adding to the
relatively scarce amount of literature available on jazz trombone playing. It will provide
students with both improvisational vocabulary and insight into the thought processes of
two eminent artists.
9
CHAPTER 2
LITERATURE REVIEW
While there is a relatively small amount of literature available in which trombone
solos are analyzed for content, there is quite a diverse body of literature that was
consulted during the writing of this essay. There is also relatively little writing on both
Steve Davis and Conrad Herwig, as they are contemporary players. A number of
historical books were consulted in order to understand the lineage of jazz trombonists to
provide historical context. There are also a number of books that provide transcriptions
of trombonists that were useful in researching the transcription process and in providing
historical context leading up to the careers of Mr. Herwig and Mr. Davis. The
dissertations available that provide transcriptions and analyses of other trombonists’ solos
were consulted as models for essay formatting and organization as well as the
transcription process. In addition to the few books in which the subjects are mentioned,
their websites were also valuable resources for their biographical information. The
subjects are mentioned in several journal articles and interviews. A large number of the
subjects’ albums were studied as well to determine their playing styles.
Feather and Gitler’s The Biographical Encyclopedia of Jazz contained brief
biographies of a number of historical jazz trombonists.17 Jazz, The Essential Companion
was also consulted for historical and biographical information about Herwig and Davis’s
predecessors.18 Collier’s The Making of Jazz, A Comprehensive History was used as well
17 Lorraine Feather and Ira Gitler, The Biographical Encyclopedia of Jazz (New York: Oxford
University Press, 1999).
18 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz, The Essential Companion (New York, N.Y.: Prentice Hall Press, 1998).
10
for historical research although being published in 1978; its scope was more limited in
that none of today’s jazz musicians were included.19
In researching the transcription process and effective analyses of the solos’
content, a number of resources proved invaluable. Jazz Styles and Analysis: Trombone
by David Baker is one of the few published books of trombone solos that include an
analysis of each solo. Baker’s analyses are limited in that they highlight things such as
melodic sequences and rhythmic motives but neglect specific harmonic choices.20 Niels
Lan Doky also published a book of transcriptions complete with analyses entitled Jazz
Transcription: Developing Jazz Improvisation Skills Through Solo Transcription and
Analysis.21 Both of these texts provided advice for how to transcribe and what aspects of
the solos to analyze.
A number of dissertations that have a similar scope were consulted. They
provided a model for the organization of the essay itself as well as many of the source
materials. The layout of the transcriptions and the analytical techniques the authors used
were also helpful in the construction of this essay. Many of these essays provided
notation that was easy to read. Each essay contained several elements of style and it was
through a combining of these elements that the most complete four-point analysis was
developed. One such dissertation was Isadore Rudnick’s “A Stylistic Analysis of Melody,
19 James Lincoln Collier, The Making of Jazz, A Comprehensive History (Boston: Houghton
Mifflin Co., 1978).
20 David Baker, Jazz Styles and Analysis: Trombone (Chicago: Downbeat Music Workshop Publications, 1973).
21 Niels Lan Doky, Jazz Transcription: Developing Jazz Improvisation Skills Through Solo Transcription and Analysis (Rottenburg: Advance Music, 1992).
11
Harmony, Rhythm and Sound Quality in Selected Improvised Solos of Slide Hampton.”22
Another essay consulted was “The Improvisation of Hal Crook” by Timothy Pitchford.23
Rodney Lancaster’s “Transcription and Analysis of Selected Trombone Solos from J.J.
Johnson’s 1964 Recording Proof Positive” was also used as a reference.24 The two
works that most inspired this essay David Lambert’s “A Comparison of Three Divergent
Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and Frank Rosolino.”25
And Eddie Lee Elsey Jr.’s “A Comparison of Two Distinctive Jazz Trombone Artists,
David Steinmeyer and Curtis Fuller.”26 One of the most helpful essays in preparation for
the study of Steve Davis’s style was David Phy’s “The Musical Language of Trombonist
Steve Davis.”27
There were interviews with Conrad Herwig available. Julie Gendrich published a
book in 2011 entitled Bonanza: Insights and Wisdom from Professional Jazz
Trombonists that features an interview with Herwig.28 Another interview with Herwig is
included in the book Top brass: Interviews and Master Classes with Jazz’s Leading
22 Isadore Rudnick, “A Stylistic Analysis of Melody, Harmony, Rhythm and Sound Quality in
Selected Improvised Solos of Slide Hampton” (D.M.A. Essay, University of Miami, 1999).
23 Timothy Pitchford, “The Improvisation of Hal Crook” (D.M.A. Essay, University of Miami, 2005).
24 Lancaster.
25 Lambert.
26 Eddie Lee Elsey, Jr., “A Comparison of Two Distinctive Jazz Trombone Artists, David Steinmeyer and Curtis Fuller” (D.M.A. Essay, University of Southern Mississippi, 2008).
27 David Phy, “The Musical Language of Trombonist Steve Davis” (D.M.A. Essay, University of Illinois, 2010).
28 Julie Gendrich, Bonanza: insights and wisdom from professional jazz trombonists (Rottenburg: Advance Music, 2011).
12
Brass Players by Bob Bernotas in 2002.29 Conrad Herwig’s website contains a press
materials section that helped in writing the biographical portion of this essay.30
A transcription of a radio interview with Steve Davis from Jazz Radio 247 proved
valuable in providing insight into his musical influences and biographical information.31
His website was also helpful in writing the biographical section.32
Many of the artists’ albums were studied. From Steve Davis the following
albums were studied: Dig Deep (1996), Vibe Up (1998), Systems Blue (2001), and
Meant to Be (2003).33, 34, 35, 36 From Conrad Herwig the following albums were studied:
Latin Side of John Coltrane (1996), Osteology (1999), Land of Shadow (2003), Que Viva
Coltrane (2004 Brian Lynch co-leader), and A Jones for Bones Tones (2007).37, 38, 39, 40, 41
Both “Osteology” and “A Jones for Bones Tones” featured Steve Davis as well as
Herwig and it is from these two albums that the solos were selected for transcription.
29 Bob Bernotas, Top brass: interviews and master classes with jazz’s leading brass players (New York: Boptism Music Pub., 2002).
30 “Press Materials,” Conrad Herwig, accessed April 8, 2014, http://www.conradherwig.com/pressmaterials.php.
31 Rick Holland, “Steve Davis Interview,” Jazz Radio 247, accessed April 8, 2014, http:// http://www.taichitimes.com/jazzradio247/jr247/content/view/147/1/.
32 “Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info.
33 Steve Davis, Dig Deep, recorded in 1996, Criss Cross, 1136, CD.
34 Steve Davis, Vibe Up, recorded in 1998, Criss Cross, 1178, CD.
35 Steve Davis, Systems Blue, recorded in 2001, Criss Cross, 1218, CD.
36 Steve Davis, Meant to Be, recorded in 2003, Criss Cross, 1248, CD.
37 Conrad Herwig, Latin Side of John Coltrane, recorded in 1996, Astor Place, 4003, CD.
38 Conrad Herwig, Osteology, recorded in 1999, Criss Cross, 1176, CD.
39 Conrad Herwig, Land of Shadow, recorded in 2003, Criss Cross, 1230, CD.
40 Conrad Herwig, Que Viva Coltrane, recorded in 2004, Criss Cross, 1254, CD.
41 Conrad Herwig, A Jones for Bones Tones, recorded in 2007, Criss Cross, 1297, CD.
13
Summary
There were a number of worthwhile resources to pull from when preparing this
essay. In addition to the sound recordings of the artists themselves, there were interviews
available in book, journal, and website form. Both artists’ website provided biographical
information. There were several dissertations that have been written with similar scopes
of study about different subjects that were useful in organizing this essay as well as
developing a transcription and analysis method. Some books contained analyzed
transcriptions as well. Jazz history books were also studied to provide historical context.
14
CHAPTER 3
METHOD
The purpose of this essay is to analyze the improvised solos of Conrad Herwig
and Steve Davis on five songs of contrasting style and tempo. The solos are analyzed for
melodic, harmonic, rhythmic, and stylistic content. The content of the solos is compared.
The analyses and comparisons will provide the reader with insight into the individual
playing styles of these two artists and the differences between them. This will offer the
reader many different tools and vocabulary to integrate into his/her own improvisations.
Transcription Procedure
In order to determine the best procedure for the transcription process, several
transcription books as well as doctoral essays were studied. The best methods were
assimilated and used for this study. The main objective of the transcription is to provide
an accurate representation of the solos.
The solos were transcribed note for note in real time using CDs and headphones.
Special software called The Amazing Slow Downer was used to slow down the music
without altering the pitch or rhythm when a passage was difficult to determine otherwise.
The transcriptions were originally done with pencil and paper. Afterward, they were
transferred into the Finale 2011 notation software, as the computer-generated notation
facilitates ease of reading. In addition to pitches, rhythms, and chord changes,
articulations and stylistic markings were used to analyze each solo as closely and
thoroughly as possible. Trombonist and educator Dante Luciani proofread the
transcriptions prior to their completion.
15
Excerpts from the solos are included and in the essay body where they are
analyzed and compared. The complete transcriptions are included in the Appendix.
Interviews
The subjects were interviewed after the transcriptions were completed. The
interviews were conducted via telephone and then transcribed. The transcribed interviews
are presented in the appendix of this essay. The subjects were asked about their
influences, their improvisational approach, their technique, and the specific recording
dates.
Selected Recordings
The solos are taken from two recording dates. The albums are Osteology by
Conrad Herwig (Criss Cross 1999) and A Jones for Bones Tones by Conrad Herwig
(Criss Cross 2007).4243 These particular recordings were selected because they feature
both Herwig and Davis soloing on the same songs. This provides the most worthwhile
comparison. The five songs were selected for their contrasting styles and tempos.
“Syeeda’s Song Flute” by John Coltrane was chosen for it’s relatively bright tempo. The
Gershwin classic “It Ain’t Necessarily So” is performed with a 6/8 feel and therefore
provides a stylistic contrast. “You Don’t Know What Love Is” by Gene de Paul is the
ballad selection. The other two selections are originals of Herwig’s entitled “Slide’s
Routine” and “Que Viva Barry,” and are a medium minor blues and a Latin piece
respectively. These specific selections were chosen to highlight the players’ styles in
these varying musical situations.
42 Conrad Herwig, Osteology, recorded in 1999, Criss Cross, 1176, CD.
43 Conrad Herwig, A Jones for Bones Tones, recorded in 2007, Criss Cross, 1297, CD.
16
Summary
This essay provides transcriptions of five solos by Conrad Herwig and five solos
by Steve Davis on the same stylistically contrasting pieces from the albums Osteology
and A Jones for Bones Tones. The transcriptions were by hand and then entered into
Finale. The solos are analyzed for melodic, harmonic, rhythmic, and stylistic content and
compared. The analyses will provide the reader with improvisational material for study
and integration into their own solos.
17
CHAPTER 4
ANALYSIS OF SOLOS
The solos from the five songs have been analyzed for melodic, harmonic,
rhythmic, and stylistic content. These aspects will be discussed individually and will be
accompanied by musical examples from the solos. In some situations Herwig and Davis
do very similar things, and in some cases their approaches are quite different. Both
scenarios will be addressed and the side-by-side musical examples will help to illustrate
each point.
Melodic Content
On brass instruments, large intervallic leaps are more difficult to play than scalar
passages and thirds. This is due to the overtone series, as consecutive partials can be
executed more easily, especially at faster tempi. Both Herwig and Davis play mostly
scalar passages or in thirds in the selected solos. Herwig does tend to use larger leaps
more often then Davis does, although Davis does use them as well. In mm. 19-23 of
“Syeeda’s Song Flute” Herwig plays a passage comprised only of notes from the F major
pentatonic scale. By skipping notes in the scale he produces a line that contains several
leaps of a perfect fourth and one perfect fifth (Example 4.1). In mm. 41-44 Herwig uses
a triadic motive that produces several perfects fourths as well (Example 4.2).
18
Example 4.1. “Syeeda’s Song Flute,” mm. 19-23.
Example 4.2. “Syeeda’s Song Flute,” mm. 41-44.
Although Davis does use larger intervals a few times in his improvisation over
“Syeeda’s Song Flute,” his solo contains mostly seconds and thirds as in mm. 105-108
(Example 4.3).
Example 4.3. “Syeeda’s Song Flute,” mm. 105-108.
The tempo in “Syeeda’s Song Flute” is rather brisk (!=208). “Que Viva Barry”
(!=176) provides a medium where larger intervals can be more easily executed. Davis
uses leaps of a fifth, two sevenths and a sixth in mm. 19-23 (Example 4.4).
? 44 ‰ œ œ œ œ œ œ œGmin
œ œ œ œ œ œ œA b7
?3 œ œ œ œ- œ œGmin
Jœ œ- Jœ Jœ œ- JœA b7
Jœ œ- Jœ Jœ .œGmin
Syeeda's Song Flute
? 44 œ œ œ œ- œ œGmin
Jœ œ- Jœ Jœ œ- JœA b7
Jœ œ- Jœ Jœ .œGmin
Syeeda's Song Flute
? 44œ̂
Œœ œ. œG
‰.œb œb - œ ¿
A b7.œ Jœ ‰
.œG
œ- œ œb œ œ œA b7
Syeeda's Song Flute
? 44 Œ ‰ Jœ œb œn œ œbG
œ œ œ œ œ œ œ œA b7
œ œ œ œ œ œ œ œG
œ œ œ œ œ œ œA b7
Syeeda's Song Flute
19
Example 4.4. “Que Viva Barry,” mm. 19-23.
In mm. 77-90, Herwig plays another passage based on the F major pentatonic
scale, although in this case he adds the 7th scale degree as well (E♮). This again produces
several leaps of a perfect fourth (Example 4.5).
Example 4.5. “Que Viva Barry,” mm. 77-90.
Many more examples of the uses of intervals larger than a third can be found in
the transcriptions provided in the appendix. The bulk of the both solos, however, is
comprised of scalar passages, and major and minor thirds.
The contour of Herwig and Davis’s solos tends to vary as they have different
approaches to building a solo. Typically, Davis takes his time, gradually building the
solo before ascending into the upper register of the horn, while Herwig gets there much
more quickly.
? 44 Ó . ‰ œ œ3
Dmin11
œb - ‰ Jœ œ-Œ
C7sus
Ó . œb -
?4 œ̂ œ œ Œ ‰ JœDmin11
œ̂ œ œ Œ ‰ Jœ
Que Viva Barry
? 44 œ̂ œ œ Œ ‰ JœDmin11
œ̂ œ œ Œ ‰ Jœ
Que Viva Barry
? 44 Œ œ. œ œ œ œ œC7sus
œ- œ œ œ- œ œDmin11
.˙ ‰ Jœ œ œ œ œ- œ œC7sus
Que Viva Barry
20
In “Que Viva Barry” Davis starts his solo on a G in the staff, and gets to a high B♭
by m. 15. He stays within this range of a minor tenth until m. 34 when he reaches a high
C. It is in measure 43 that he reaches the lowest point in the solo, a C in the staff. The
entire solo is within this two octave range. In Herwig’s solo that same high C is the
second note played, and is followed immediately by a high D. Interestingly, his solo is
also entirely within a range of two octaves, reaching it’s lowest point in the 18th measure
(m.87). By the next bar he is already back at a high A. Both players end their solos in
the middle register of the horn.
In “It Ain’t Necessarily So,” Davis starts on an F above the staff, but this time
gets to the high C by m. 16. The E♮ in the staff in m. 32 is the lowest note, putting this
solo in the range of a minor thirteenth. Herwig starts on a high A and by the 16th measure
(m. 296) has reached an altissimo F. His low point is a D♮ in the staff in m. 320 giving
the solo a range of a minor 17th, or two octaves plus a minor third.
The ballad selection, “You Don’t Know What Love Is,” also sees Herwig at an
altissimo F by the first full measure of his solo (not including his pickups). The E♭ in the
staff a major 16th below is the lowest point and occurs in m. 12, but is included in a flurry
of 32nd notes. The lowest sustained note is an A♭ on the top line. Davis does have a high
B♭ in the second measure of his solo (m. 18), and reaches a high C in the 10th bar (m. 26).
He ends his solo on a C in the staff making the range exactly two octaves.
From these examples it is clear that both players tend to utilize similar ranges
within the solos, but Herwig gets to the high points much more quickly where Davis’s
solos have a more gradual build.
21
The use of patterns is very common among performers of jazz music. Whether
developed as patterns first and then played in a solo, or improvised first and then
analyzed as patterns, the fact remains that they are present in most if not all jazz solos. In
the essential method book by Jerry Coker, Jimmy Casale, Gary Campbell, and Jerry
Greene, Patterns for Jazz, the authors state in the introduction:
“Just as spontaneity is combined with conditioning, so is the existing style of jazz combined with originality of expression. One is lost without the other, and so we seldom hear an improviser’s solo that does not contain melodic fragments or patterns: from the melody of the tune used, from a fellow performer’s solo, from an influential player of the time, from a different tune altogether, from material previously improvised, or from patterns (original or borrowed) currently studied in individual practice.”44
Both players use recognizable patterns in their improvised solos. Both players
also tend to favor pentatonic patterns as they occur frequently in the solos. In “It Ain’t
Necessarily So” Davis plays an eight note pentatonic figure and then moves the exact
same pattern down in whole steps in mm. 21-26 (Example 4.6).
Example 4.6. “It Ain’t Necessarily So,” mm 21-26.
44 Jerry Coker, Jimmy Casale, Gary Campbell, and Jerry Greene, Patterns for Jazz (Miami, FL:
Herwig and Davis have very different styles. They use many of the same
techniques in their solos, but with varying degrees of frequency.
Both players use primarily scalar passages or passages in thirds. Both players do
sometimes use larger leaps in their solos. The contours of their solos are typically quite
different. Davis takes his time building to the upper register, while Herwig usually gets
there much sooner in his improvisations. Both players use a good deal of patterns,
especially pentatonic patterns, and both players will sometimes quote pre-existing
melodies. Both players are fond of using the blues in their solos as well.
While both trombonists play within the chord changes most of the time, both do
deviate occasionally, building tension in their solos. Planing and side-slipping are used
in the selected transcriptions by Davis and Herwig respectively. Both players use
chromaticism and chord substitution, especially tritone substitution, occasionally in their
solos as well. Delayed resolution is used by both players, with Herwig sometimes never
resolving.
Herwig and Davis have different swing feels, giving them each a unique sound.
While Herwig plays double time passages in his solos more frequently, Davis does
occasionally use the technique as well. Both players will play extended passages using a
triplet subdivision in their improvisations. Both players build rhythmic motives in their
solos, creating a continuity and rhythmic interest.
Each of the trombonists has their own stylistic preferences, although several
overlap. While both players use falls, Herwig does so much more often. Davis is more
prone to gliss up to notes from below, although Herwig does it as well to a lesser extent.
48
In the selected transcriptions, only Davis utilizes the grace note and the shake. Both
players use alternate positions and against the grain playing to play certain fast passages
with fluidity and precision.
These players sound quite different, and have very different styles. They use a
surprising amount of the same devices in their playing to yield such different styles. It is
the frequency with which they employ these devices that creates such individual sounds.
They make for interesting foils, and studying transcriptions of their play provides
valuable insight into jazz improvisation. Understanding the differences in their playing
and integrating them into one’s own playing can provide an important variety into one’s
own improvisational style.
49
BIBLIOGRAPHY
“Biography.” Steve Davis. Accessed April 8, 2014. http://www.stevedavis.info.
“Press Materials.” Conrad Herwig. Accessed April 8, 2014. http://conradherwig.com/pressmaterials.php
Baker, David. Jazz Styles and Analysis: Trombone. Chicago: Downbeat Music Workshop Publications, 1973.
Bernotas, Bob. Top brass: interviews and master classes with jazz’s leading brass players. New York: Boptism Music Pub., 2002.
Carr, Ian Digby Fairweather, and Brian Priestley. Jazz, The Essential Companion. New York, N.Y.: Prentice Hall Press, 1998.
Coker, Jerry, Jimmy Casale, Gary Campbell, and Jerry Greene. Patterns for Jazz. Miami, FL: Studio P/R, 1970.
Collier, James Lincoln. The Making of Jazz, A Comprehensive History. Boston: Houghton Mifflin Co., 1978.
Davis, Steve. Dig Deep. Recorded in 1996, Criss Cross, 1136, CD.
Davis, Steve. Meant to Be. Recorded in 2003, Criss Cross, 1248, CD.
Davis, Steve. Systems Blue. Recorded in 2001, Criss Cross, 1218, CD.
Davis, Steve. Vibe Up. Recorded in 1998, Criss Cross, 1178, CD.
Doky, Niels Lan. Jazz Transcription: Developing Jazz Improvisation Skills Through Solo Transcription and Analysis. Rottenburg: Advance Music, 1992.
Elsey, Jr., Eddie Lee. “A Comparison of Two Distinctive Jazz Trombone Artists, David Steinmeyer and Curtis Fuller.” D.M.A. Essay, University of Southern Mississippi, 2008.
Feather, Lorraine and Ira Gitler. The Biographical Encyclopedia of Jazz. New York N.Y.: Oxford University Press, 1999.
Gendrich, Julie. Bonanza: insights and wisdom from professional jazz trombonists. Rottenburg: Advance Music, 2011.
Herwig, Conrad. Interview by Michael Davis, October 1, 2014, Bone2pick Series.
Herwig, Conrad. A Jones for Bones Tones. Recorded in 2007, Criss Cross, 1297, CD.
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Herwig, Conrad. Another Kind of Blue: Latin Side of Miles Davis. Recorded in 2004, Half Note, 4517, CD.
Herwig, Conrad. Land of Shadow. Recorded in 2003, Criss Cross, 1230, CD.
Herwig, Conrad. Latin Side of Herbie Hancock. Recorded in 2010, Half Note, 4544, CD.
Herwig, Conrad. Latin Side of John Coltrane. Recorded in 1996, Astor Place, 4003, CD.
Herwig, Conrad. Latin Side of Wayne Shorter. Recorded in 2008, Half Note, 4535, CD.
Herwig, Conrad. Osteology. Recorded in 1999, Criss Cross, 1176, CD.
Herwig, Conrad and Brian Lynch. Que Viva Coltrane. Recorded in 2004, Criss Cross, 1254, CD.
Herwig, Conrad and Brian Lynch. Sketches of Spain y Mas. Recorded in 2006, Half Note, 4530, CD.
Herwig, Conrad. With Every Breath. Recorded in 1987, Ken Music, 008, CD.
Holland, Rick. “Steve Davis Interview,” Jazz Radio 247. Accessed April 8, 2014. http:// http://www.taichitimes.com/jazzradio247/jr247/content/view/147/1/.
Lambert, David. A Comparison of Three Divergent Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and Frank Rosolino. D.M.A. Essay, University of Miami, 2005.
Lancaster, Rodney. “Transcription and Analysis of Selected Trombone Solos from J.J. Johnson’s 1964 Recording Proof Positive.” D.M.A. Essay, University of Miami, 2009.
Liebman, David. “The Complete Transcription Process.” Dave Liebman Official Website. Accessed April 29, 2014. www.daveliebman.com/earticles2.php?DOC_INST=13.
Phy, David. “The Musical Language of Trombonist Steve Davis” (D.M.A. Essay, University of Illinois, 2010.
Pitchford, Timothy. “The Improvisation of Hal Crook.” D.M.A. Essay, University of Miami, 2005.
Rudnick, Isadore. “A Stylistic Analysis of Melody, Harmony, Rhythm and Sound Quality in Selected Improvised Solos of Slide Hampton.” D.M.A. Essay, University of Miami, 199.
51
APPENDIX A
Interview with Conrad Herwig
52
What trombonists have influenced you the most?
Well, that’s a multi-faceted question, because, I’ve been playing trombone since I was eight. The most important for me, early on, when I was growing up in Hawaii was Trummy Young. A little before Louis Armstrong died, Trummy had married a Hawaiian girl, and was living in Honolulu, were I grew up. I had two teachers, Les Benedict and Ira Nepus, who were hugely influential on me. Les had been in the Air Force, and is a phenomenal virtuoso player, now living in L.A. Ira Nepus played lead in Woody Herman’s band. They were protégés of Trummy, so I met Trummy through them, and I was in awe. I often tell the story that the first time I saw Trummy play was probably my 13th birthday, and I saw him play with his quartet, and so I thought that all jazz quartets were led by trombone players, because it was the only one I had ever seen. I just idolized him. Trummy was just a tremendous influence on me. In fact, he was the reason that I wanted to be a jazz musician, him and Ira and Les.
Les had a huge collection of recordings, and he would give me all these recordings. So, the guys who influenced me the most were Carl Fontana, Frank Rosolino, and the J.J., Curtis, and Slide Hampton, not necessarily in any order…J.J. was the first one whose records I would just put on, and try to play along with. But Les had a lot of European recordings, so I was exposed, at a pretty young age, to Albert Manglesdorff and Eje Thelin, and they were huge influences on me.
The other guys who I’d say were big influences on me were Raul de Souza and Edison Maciel from Brazil. I had an album called The Beat of Brazil, by Sergio Mendez, and I think it’s arguably one of the greatest trombone albums of all time…so, it was the combination of all these trombone players that really influenced me. Raul de Souza was a valve trombone player, but I didn’t know he played valves, so when I’d listen to it, I would just try to figure out what he was doing. That was what shaped me when I was a younger kid.
Then, when I went to North Texas, when I was 17, Rich Matteson became a huge influence on me. He was my teacher, and he was the baddest euphonium and tuba player that we’ve had. He was really good friends with Frank Rosolino, so I was able to hear Carl and Frank a lot during those years. They had a quintet together and they came to Dallas.
How about other instrumentalists?
Well, growing up, I really loved the tenor sax. I was really into all the artists on Blue Note, but certain albums were just huge for me. One of those was The Real McCoy with Joe Henderson, so then I just tried to get every Joe Henderson record
53
I could. But it wasn’t just Joe Henderson, but a lot of tenor players: Sonny Rollins, John Coltrane, Dexter, and Don Byas. One of the reasons was that the tenor sax is pretty much in the same range as the trombone, so a lot of that made a lot of sense to me. Besides tenor sax, I’m a huge Woody Shaw fan…and Lee Morgan, Dizzy and Clifford Brown…and Cannonball was also huge for me. I just tried to soak up everything, and apply it as best as I could.
Can you talk a little bit about technique and how you play the horn? Things like tonguing and against the grain playing.
Well, I think I’ve always been a fan, because of my teachers when I was younger, of flexibility, and against the grain playing, and the use of alternate positions. I was such a huge fan of Frank Rosolino, and Frank was just the epitome of flexibility. I transcribed a ton of Frank Rosolino, and the stuff he was doing was just incredibly difficult…and I was transcribing a lot of John Coltrane solos, and Joe Henderson Solos, and Woody Shaw solos, and to be able to play that stuff just requires you to use a lot of against the grain playing and doodle tonguing. I would just start off trying to play them really slowly, and then eventually play them along with the record and try to keep up. That forces you to develop a certain kind of technique.
I was blessed to have a teacher at North Texas named Don Jacoby, who is a master of brass playing. I consider him to be one of the greatest brass gurus of all time. He taught me about air speed, and how to think about articulating on the horn, and how to use my air…but a lot of it is just practical. A lot of my best friends are sax players, and if you want to keep up with the sax players, you just figure it out as you go along.
What are your thoughts on improvisation? What kinds of things do you think about when you play, or do you think at all? What kinds of things should students practice?
The way I look at it is that improvising is sonic painting, or painting in sound. So, our palette is basically based on different colors of sound. People call them modes, different forms of scales. So, each diatonic mode, whether you’re talking about ionian, dorian, phrygian, lydian, et cetera, is a different sonic color. When you hear a minor chord, it’s not always a dorian sound. Aeolian, and phyrgian, and locrian are very rich sounds, so I tried to apply those scales. I listened to Herbie Hancock and Wayne Shorter and tried to figure out how they applied those sounds, and dimished sounds, and different modes of melodic and harmonic minor…and then I got really fascinated listening to Woody Shaw and working with pentatonics. So, then I tried to find ways of applying pentatonic, and then linking them so you’re moving between modes and pentatonics. I tried applying different pentatonics over different chords.
54
And then, of course, when you transcribe you learn vocabulary, which is a patchwork of ideas and phrases. People call them licks. I was never a huge fan of putting licks together. Of course we all do it from when we’re kids, you learn a lick, then you learn another lick, then you try to learn it in 12 keys and try to apply it. But, when I listen back to my own playing on recordings, I prefer it more when I’m more free-associating colors than just stringing licks together. I’ve always thought of stringing licks together is kind of a band-aid approach to improvising. When you’re using sound colors, and you’re free-associating rhythmic patterns, in asymmetrical and symmetrical applications, then it’s really a creative process.
Can you talk a little bit about the two recording sessions that you did with Steve Davis?
The first session, was early in my run of Criss Cross albums. One of a lot of people’s favorite bands, and one of my favorite bands was the old J and K band, with J.J. Johnson and Kai Winding. So, in speaking to Gerry Teekens about what kind of projects I wanted to do, he mentioned the J and K project. So, I said that if I were to do it, the only person I’d want to do it with would be Stevie D, because I admire his playing so much…you’ve got to be on top of your game if you’re going to be with Art Blakey and the Jazz Messengers. He’s a really creative guy, and he’s a great trombonist…he just has a very eloquent way of playing…and, I’ve always admired the fact that he plays the changes so well. He’s such a polished and consummate musician. So, that’s how the idea came about. Then, I’ve been really lucky that some of my best friends are some of the best pianists, bassists, and drummers in the world. Dave Kikoski and I had been friends for many years, and recorded on different people’s projects. And James Genus lived in Brooklyn, and I had known James for a long time. I met Tain through Branford Marsalis, who is a good friend of mine. So, it just worked out to get Tain and James and Dave together, and you can’t ask for a better rhythm section than that…those guys are just amazing. So, I put together some originals and some standards that I really liked…it was a nice synchronicity, because Steve and I had both been recording for Criss Cross, and we were able to get these great rhythm section guys in the band.
The second session was almost ten years later, and in the interim we both had many different things happen in our careers. I had recorded a sextet with Alex Sepiagin and Seamus Blake, and then I had done a different sextet with Tim Hagans and Ben Schachter. The difference in the two records is that the first album was not a trombone tribute per se…I’m not really a huge fan of making trombone records. What we really wanted to do was just make a creative project, and it just so happens that we play trombone. I think the first record was pretty successful, as far as selling, because Gerry asked us to do another one.
55
In the mean time I had decided that if I were to do another one, it would be all originals, and I would write each tune for a different trombone player that I considered one of my heroes. I had a blues for Frank Rosolino, one for Raul de Souza, I wrote a minor blues entitled “Slide’s Routine.” There was a ballad for Albert Manglesdorff that I actually wrote about 20 minutes after I found out that Albert had passed. I had a tongue-in-cheek rhythm changes called “Jay Dot.” I had a little medium bounce tune I called “Dubois’ Delight,” because Curtis Fuller’s middle name was Dubois. And, I was up in Nova Scotia, and it really reminded me of Scandinavia, and I wrote this tune, and I thought of Eje when I wrote it, so I called it “Eje’s Dream.” The other tune was written for Barry Rogers…I’ve spent half of my life playing with Eddie Palmieri, and Barry Rogers pretty much wrote the trombone book for that gig. So the first one was just Stevie D and I getting together with Dave and James and Tain to just do our thing. The second album was more of a trombone tribute.
One thing about the second album is that it was with Orrin Evans, Boris Kozlov, and Donald Edwards. We play together all the time…in fact, Steve subs in there a lot, and I’m more of a regular member of the Mingus band. I’ve probably played 1000 gigs with those guys…I don’t know for sure, but well over 500…and we’ve been playing Mingus’s music, which is really hard music.
Steve and I play really differently. We play in a different register. If Steve wanted to play in the upper register he could, but he’s just comfortable in his zone, and I’m more comfortable in mine. To me, it’s pretty easy to tell us apart.
What do you like about his playing and why did you choose to record with him?
Steve is incredibly consistent. He has such a great understanding of harmony. He really, really knows the changes. I think he knows the changes better than I do. His playing reminds me of the great qualities of J.J. and Curtis. I used to think of J.J. as a diamond cutter. He was just able to take the diamond and just polish the facets of that diamond, and Stevie is able to take a tune, and just totally smoke it. He just always hits a home run in the changes. I learned from listening to him, about how to use the guide tone line, and color tones…his solos are very, very well crafted.
The other thing is that he’s really spontaneous. He can do it on a dime. He can shift and turn, and if we’re trading he always has a great complementary phrase. I’ve always admired that…and, there no set of changes that Steve can’t play. I’ve heard him play tunes like 26-2 by John Coltrane, and just smoke it. There’s no one I respect more than Stevie D.
56
Any final thoughts for students who might read this interview and want to be successful jazz musicians?
In jazz there are really only two things: there’s the truth, and there’s a lie. You’re better off just playing your own personal truth. You can’t be somebody you’re not. When I’m in the moment, I tell myself, “just go for it and be your self.” That’s advice I’ve gotten from great players. Clarke Terry used to give me that advice. If I try to be something I’m not, then it sounds too controlled, or unemotional. I’m better off just cutting loose and being myself.
Something that Dave Liebman told me is that you should record with the guys that you’ve been playing with…like with Orrin, Boris and Donald. I’ve played so much with them, and there’s a feeling of comfort and trust, so you can take chances, and feed off of each other. It creates a creative spiral. It’s an upward spiral. Trust your rhythm section, and listen to them and react to them…and choose them wisely.
57
APPENDIX B
Interview with Steve Davis
58
What trombonists have influenced you the most?
J.J. Johnson, Curtis Fuller, Slide Hampton. I would say those three for sure… and many other great players. In recent years, although you might not hear it so obviously in my playing, I’ve been listening to Jack Teagarden a lot more. Of course, when I was coming up, Steve Turre was a newer voice, a very exciting voice… of course Frank Rosolino…and Carl Fontana had a big influence on me as well. But, primarily it has been J.J., and Curtis Fuller, and Slide Hampton.
How about other instrumentalists?
My gosh, I mean, so many. All of the masters that most of us listen to. Miles Davis had a big influence on me…Freddie Hubbard…Jackie McLean. I spent so much time around Jackie, and his concept and language was such an influence on me. Chet Baker and Lee Morgan I listen to a lot. John Coltrane, I mean you could just go on and on. And then there’s the non-horn players. I love piano trio. Hank Jones and Cedar Walton in particular had a huge influence on me…McCoy Tyner…singers as well. Nat King Cole…Sarah Vaughan. It’s hard to say; there have just been so many influences over the years. Hopefully it just sort of distills through you, and eventually you’re just playing, and it just comes out as your voice.
Can you talk a little bit about technique and how you play the horn? Things like tonguing and against the grain playing.
I try to single tongue as much as possible. But, before that, I really just try to keep the air moving…and get the slide where it needs to be, as efficiently and quickly as possible, so that you’re kind of eliminating the kind of cliché trombone-y, or lazy slide type of sound. That’s how J.J. and Curtis Fuller, their precision and articulation, really influenced me. There are times when you listen to those guys and you could swear they were playing valves. And they’re playing language that was not really associated with the trombone. That’s something, early on, that I was always interested in…and I think I share that with Conrad. He plays things that are not typical of the trombone.
I definitely use alternate positions. If you want to play certain melodic passages, if you want to execute them with any kind of velocity, you’re going to need to address that. You have to play out there, and learn how to make that timbre sound pleasant and not just nasal. I’ve spent some time trying to match intonation and timbre with, say, D in first and D in fourth, or B♭ in first and B♭ in fifth. I have to use alternate positions to try to keep things as efficient as possible…it’s very important.
59
What are your thoughts on improvisation? What kinds of things do you think about when you play, or do you think at all? What kinds of things should students practice?
First and foremost, I try to play as if I’m singing, so that everything has a lyrical feeling to it. That’s my goal anyway, so that the trombone is almost incidental. It’s almost like air in your hands, and you’re just trying to sing, through your horn.
Certainly a huge component to improvisation, group improvisation, is listening to the rhythm section, and playing off of them. I try to keep my radar on at all times, and almost become a fourth member of the rhythm section. I really try to integrate my approach with what they’re doing, so I’m not just “running my stuff” over the top of the rhythm section. Sometimes it’s going to sound that way because you’re the horn player and they’re the rhythm section, but I try to avoid that as much as I can…and I just try to stay as lyrical as I can, even when I’m playing music that requires me to deal with sophisticated harmonic passages. I always try to “find a song” in the chords, and pull melodies out of the chord changes.
Students should listen to as much music as possible. If you’re a young alto player, of course you’re going to listen to Bird, and Johnny Hodges, and Jackie McLean, and Cannonball Adderall, Sonny Stitt, Lou Donaldson, and Phil Woods on up through Gary Bartz and Kenny Garrett and these great players today. But, you need to listen to everybody…and really listen. I remember the great Mulgrew Miller, God bless him, came to do a master class at the McLean Institute at the Hartt School at the University of Hartford, where I’ve been teaching for a long time. He came just about six months before he passed away, and gave a fantastic master class. He said something very profound. He said, “If you guys remember one thing about my visit today please remember this: Show me a great player, and I’ll show you a great listener.” I just thought that was a homerun for our students because we all get caught up in what we’re trying to play, and what we’re shedding, and we forget to really listen…and not just listen during the act of playing, but really listen to music, everywhere, all the time…and not just jazz.
So, I would encourage students to do more of that first and foremost…and then, really try to sing through their instruments. I would urge non-pianists to really develop their piano, so that they can hear, and see, and play the harmonies, and really get connected to chords that way. And also learn something about the bass, and the drums…really become a fan of the rhythm section so that they’re really connected to the total language of the music. Another thing I would encourage students to do is to go back through the history. I think a lot of times, in our field, it’s important to be innovative, and fresh, and you hear these words all the time. Mozart was an innovator, Charlie Parker was an innovator, John Coltrane was an innovator, but there’s not too many of those. I think you should become a really good musician first and foremost, and if along the way, people start to call you an innovator, then good for you, that’s great. But I think there’s a little too much instant gratification going on in this day and age and everybody’s trying to play
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on the outer edge of the music right from jump street without really knowing the guts of the music, or being able to really play a compelling solo without “taking it out.” I think it’s important to build your foundational language, some call it bebop, but whatever you want to call it, it’s the tradition. Look at all the great players who are out there, still doing it. It’s a long line that we’re all in, and you can’t really cut in the line, you’ve got to get in line, and that’s how you really become part of the tradition.
For trombone players specifically, I would say, do your long tones, softly, everyday. I did long tones, finally, when I was about nineteen. I thought I was a natural and I was very undisciplined…I wouldn’t say I was lazy, but I just wanted to get to the good stuff right away, and play along with records, and jam with my buddies and all that. Then Jackie McLean and Steve Turre helped me and influenced me. Steve Turre showed me one time and I’ve been doing them ever since, and they’ve really help me to focus my sound. And then after that, work on flexibility, and articulation, and all of that stuff.
Can you talk a little bit about the two recording sessions that you did with Conrad Herwig?
The first one, Osteology, was during the summer of ’98 I believe, and I was very flattered, and honored, that Conrad would ask me to make a record with him. He was the leader on the date, and he organized everything…he organized the rhythm section, which was fantastic, and all the music, the arrangements, everything. As is always the case, everyone was pretty busy. We never had a full band rehearsal. Conrad and I got together one afternoon for about an hour and a half, ran through a few parts, I don’t think we got through all the music…so, it was really on the fly. We all kind of read it down, got it together, and let it rip. We only did one or two takes of each tune so it was very fresh. It was really great music, and I was just trying to keep up.
Conrad had a great rhythm section: Jeff “Tain” Watts, Dave Kikoski, and James Genus…guys that he’d been playing with for some time. I was definitely the youngin’ on the session, a little bit less experienced than those guys. It was challenging material, very exciting music, and Conrad just absolutely played his butt of. It definitely was a very exciting experience for me…and I thought the music came out really well actually. I was worried that I wasn’t familiar enough with the music, and it was difficult, and I thought that maybe I wasn’t playing up to the level. Now that I listen back though, I think it really came out great. I’m very proud of that record.
I guess the first one did very well. I think it was, believe it or not, ten years later. Conrad and I had recorded extensively for Criss Cross as leaders and as sidemen by that point. So Conrad just said, “Let’s do it again.” He got another great rhythm section, I think it was the Mingus Band’s rhythm section at the time: Orrin Evans, Boris Kozlov, and Donald Edwards. Conrad wrote all the music…on that one I think he paid tribute to many of the trombone heroes like
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Frank Rosolino, Slide, Curtis, and others. The music on that record was fantastic too. It was just round two of what we had done ten years before, and we really had a great time playing together. I’ve learned an awful lot playing next to Conrad over the years in different situations. You better eat your Wheaties if you’re going to be playing next to Conrad. Conrad is dead serious, man, he’s such a serious musician, and a brilliant musician, and he just plays on such a high level. It’s very inspiring.
What do you like about his playing and why did you choose to record with him?
First of all, I dig his concept in terms of music repertoire, and his language is very hip…he’s a real modernist. He’s not afraid to delve into the Woody Shaw, Joe Henderson, and McCoy Tyner kind of harmonic ideas and concepts. That’s very inspiring. He plays things that aren’t really addressed on the trombone, which is very exciting to me…and then there’s just his physical ability on the trombone that’s so phenomenal. I mean, he does things that I couldn’t do in my wildest dreams. And his style is very different from mine. He kind of brings out the best in me, and I think we’re quite good foils…and maybe in my own way, I push him too. I just try to play the best Stevie D I can play, and try not to outplay myself. But, Conrad has definitely influenced me in a lot of ways. I’m very proud of those dates we did together.
Any final thoughts for students who might read this interview and want to be successful jazz musicians?
I would encourage them to dream, because that’s what I did when I was a young kid growing up, and listening to my father’s records. I came to the University of Hartford when I was eighteen, and I met Jackie McLean, and I met Curtis Fuller. I saw J.J. Johnson, and all of the great heroes like Art Blakey. And then I wound up getting to play with Art Blakey at a young age. Your dream can come true, and I would encourage young players to go for it, because we need them. I want to have some new cats to play with in the coming years. In thirty or forty years I’m going to want to play with great new musicians. We all need to keep this music alive, and well, and vital, and it is, and I think it will be. But we need as many fresh, exciting voices as possible playing jazz music.
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